BCN Jewellery Factory

8/14/2019 BCN Jewellery Factory

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Thisprojectwa

stheinspiratio

nofXavierInes

Moncls

andSarahOHa

nafore

wo

rd

3


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foreword

SARAHOHAN

A-DESIGNE

RANDLECTURERIN

APPLIEDAR

TS:CITYCO

LLEGEMANC

HESTER.

Creative,wor

kingrelations

hipscomeby

quiterarely.

Justasrareisthea

nglofileCata

lanwithap

ar-

ticularliking

ofthepost-i

ndustrialNor

th.Suchanid

ividualisXav

ierInesMoncls,aje

wellerwho

hasexhibited

hishomely,p

layfulworkwo

rldwide,anda

stoundedmo

rethanoneMancunians

tudent

withhissurr

ealprojects,

demandingb

othskillatth

ebenchand

traditionalsta

yingpower.I

firstmet

InesMoncls

twoyearsa

goandhave

sinceplotted

andplanned

numerouswa

ysinwhichto

bringto

theforef

ronttheawes

omevariety

andtechnica

lskillemanat

ingfromthe

schoolsofje

welleryin

Barcelona,wherehew

astrained.

Didyouknow

?hesaidveryearlyon,that

Barcelonaand

Manchestersha

rethesameind

ustrialheritage?

witnessingmy

surprise,hecon

tinued:Myow

ngrandmotherworke

dinatextilefa

ctoryhereinBa

rcelona

foryearscalled

FabraandCoat

s.Nowitsacu

lturalcentre.In

thiswaywerealisedt

hetwogreatci

ties

sharedapastt

oogoodtomiss

,andBarcelon

a,stillanindus

triousprovider,

becamethefocusofour

atten-

tion.Mancheste

r,withitscolos

salindustrialba

ckgroundandr

edbrickculture

offeredtheper

fectplatform.

Buildingonthedyna

miccollaborationsh

aredinpreviouspro

jectswejoinedforc

estobringtoManch

estera

collectionofworkw

hichexemplifiesthe

Mediterraneanscho

olofthought.Aver

ydistinctstyleflows

from

thecoastsofCata

lunya,noteasilyde

finedbyeitheritsu

seofcolourormate

rialvariety,artistic

contentor

conceptualattainment.Anunh

inderedexposureof

thesubconsciousis

moretothepoint.

Andifthismeans

usingmobilephone

buttons,importedcartoons,ceme

ntwithgoldordelic

atetextilemessages

,sobeit.An

attitudebornoutof

confidence,designe

dtosatisfythemostprivatedepartm

entsoftheinnerse

lf.

Thepowerfulundercurrent,th

ecommonlanguage,butmor

eimportantlythefreedomof

expression

sharedbythejewellersinthi

sexhibitionismatchedequal

lyandateverystage

bytheboundlessenergy,cult

uraldiversityandamplegrou

ndsforopportunitythatisoffe

redbytheCityof

Manchester.

4


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WhenIwaslittleIlikedtoplaycuttingalltypesofmaterialswith

myhandsandmyscissorsandalwaysenjoyedplayinginthe

forestcollectingdifferentkindsofleaves,seeds,flowersand

stonesliketreasures.

Imstillfascinatedbythewaynaturemakesallsortsofincredible

shapesandcoloursthatwecanneverrecreateasperfectly.

IbelieveweshouldneverstopplayingandthatswhatIkeep

doinginlife.

hagopian

ana

7


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an

a

hagopian

8


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Continuingmyownpe

rsonaltrajec

tory,Ihave

chosen

topositmy

workonourownpe

rsonsinthe

formof

jewellery,us

ingthelang

uageofbrooches,wristb

ands

andaccessor

ies.Inthisw

aythegaller

ywallshifts

literallyonto

usasspect

ators.Web

ecometheo

bjectof

attention,th

ewearerof

theworks,a

travelingsite

to

seeandbes

een.

michie

anne

9


11/32

an

ne

michie

Identitywris

tbands

Letsmakepe

ace

keyringand

pendant

RIGHT

Warmmessa

ge

brooch

LEFT

RIGHT

10

LEFT

Messagebro

oches

mounted


12/32

Arrangeanddis

arrange,lookfo

rachallengein

themostelemen

tary

shapes-likeov

alsorrectangles

andthenexp

loretheirmultip

le

combinations.Met

iculousness,cha

ngeabilityandf

ondnessofcolou

r,through

thevery personal use ofjapa

neselacquer, su

mmarisethewo

rk ofEstela

Guitart.

Chromaticrythm

sormathemati

calsystems?Th

esequencesof

unitscan

eithershapean

organicgarland

orageometrica

lcomposition.I

nthese

poeticalscheme

s,thetinygear

sthatarticulate

thejewelsprou

dly

participateinthe

finalaesthetica

leffect,instead

ofremaininghid

denonthe

back.

Totransform ra

dicallythelook of a neck

lacebytwisting

it,to changei

ts

lengthortocho

osewhichcolou

r wepreferinareversiblep

endant,areall

stimulithatGuit

artoffersusthro

ughherjeweller

y.Sheencouragesthew

ear-

ertore-discover

everypiece,on

cetheyarewor

nonthebody.L

etstakepart,

therefore,inthe

adornmentplay

.

MnicaGaspar

ArtHistorian

11

estela

guitart


13/32

estela

guitart

ABOVE

ABOVE

BELOW

BELOW

12

Necklace

Necklace

Bracelet

(silveranduru

shi)

Pendants

(silveranduru

shi)

(silveranduru

shi)

(silveranduru

shi)


14/32

DaybydayIlinkfragmentsandjointhedisjointedworld

together.Thisfragmentedbeautycouldcrystalisefora

momentintosomethingakintoanalphabet.Becoveredfor

amomentbythisdelicatewebwhichallowsustofeelwhat

ishiddenwithin.Holdontothismoment.Breatheitand

holdontoit.

draper

gemma

13


15/32

ge

mma

draper

Asimilar 1

Asimilar 11

ABOVE

ABOVE

Frame

Itsalmostthesame

BELOW

LEFT

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garciatebar

grego

15

Storiesinano

therformat

Mypiecesarestori

es

Innermoststo

riesmadematerial,

Materialthatm

eetsmysteps

Andmysteps

aremypassag

e

throughthese

stories,

storiesinanot

herformat.


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gr

ego

G

arcia

tebar

16

Objectswith

animalinnocen

ce

(Perspex,pre

ss-forming,cer

amicenamel)


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Ourexperience

oflifehasgon

efrombeingfe

udalinscopet

obeingglobal.

But

whileitusedtob

edirectandpr

ofound,nowit

issuperficialan

dmediatedby

mass

media.Ithasbecomealm

ostimpossible

tofindanythin

gimmediateor

thathasnot

yetbeenaliena

ted.

TheShamansw

erethelasthu

manstospeak

toanimalsand

tothewholeof

nature:plants,

wind,androck

s.Ourhunter-g

athererancest

orsrecognised

that

theirenvironme

ntpossessedt

hepoweroflif

eanddeathov

erthemandth

ey

consideredtha

tsuchcommun

icationwasess

entialfortheirs

urvival.Noww

etoo

arebeginningt

orecognisethe

poweroflifea

nddeaththato

urenvironment

has

overus.Wehavet

ocommunicate

withit.

Ourrelationship

withournewt

echno-urbanenvironmen

t,materialsan

dimages,

hascreatedfar

-reachingchang

esinourperce

ptivefaculties.Changesth

attoday

anyonewhopa

ssesthrougha

cityexperienc

esonaprivate

level,andwhichany

citizenofacont

emporarystate

experienceson

anhistoricalle

vel.Wenolon

ger

thinkaboutwha

twewant,mov

ingimagessub

stituteourtho

ughts.

Itisforthisre

asonthatthel

anguageofpo

pularstereotyp

eshasbeench

osenfor

thesedeclarationsofcu

lturalcriticism.

Cinematicmon

tagesandphot

omontages

thatthebodyu

sesasamediumfortriba

lidentification,

andasamea

nsof

communication

withthesyste

m,awayofgettingcloserto

others.

kepa

17

karmona


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ke

pa

karmona

ABOVE

HolidaysinBag

dad

ABOVE

Europewelcom

escz

BELOW

Com

ABOVE

Gillettebuildin

gs

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Jewellery.The

craftprovides

abase.Itrepre

sentsastartin

gpoint

fromwhichtod

ealwiththings,organiseth

emandmakea

ritualoutofwh

at

isoccurring.Th

ejewelsareju

stthetool.Thebiggerp

ictureistoatte

mpt

an understand

ingthroughma

kingthem.Pie

ces appear acc

ordingtomy

mostimmediate

needs,which

turnsthemanip

ulatedmediumi

ntoamapof

myreality.

monzomarc

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ma

rc

M

onzo

RIGHT

(silver,carpain

t,steel)

2004

ABOVE

(plastic,silver,steel)

2004

BELOW

(plastic,silver,

steel)

2004

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Charactersand

unimaginableanimals,app

aratustoruna

timpossible

speeds,machin

estoflyover

theroofofas

tarrysky,piecesofjunkto

spreadthemis

t.Apileofmac

hinesofuntrus

tingfunctionali

tycarryus,

travellingthrou

ghaninfinity

ofhistories.

fugarolas

monica

21


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mo

nica

fugarolas

BELOW

Copa

22

BELOW

Castanyaswi

dowhasdecid

edtowearaS

pringdress

Hangingtoy

(silver,nylon,

glass,cord,sil

k,velvet)

ABOVE

UncleNeloha

danostrichw

hichransom

uch

Fingertoy

(silver,lead,n

ylon,glass,co

rd)

ABOVE

MarialaMuca

dera,Unassem

bledbell

(silver,bronze,button

,glass)


24/32

IcouldntsayexactlywhenandwhyIbeganusingcementin

myjewels.Iliveinacitywherealmosteverythingisbuilt

withthismaterial.Tonsandtonsofitarecoldlypiledup.In

myprivatelifetherearenocementmachinesbuttiny

instrumentsthatarrangethismaterialwiththeprecisionand

loveofajeweller.

martinez

samuel

23


25/32

sa

muel

M

artinez

ABOVE

Casameva

ABOVE

LaClau

BELOW

Kamaco

BELOW

MedalCreu

24


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solsona

25

Experiments

WhenImakethesepiecesIhavethe

samewonderfulfe

elingthatI

didasachild,when

Iwouldtakeapart

anybrokenelectrical

householdgoodsor

toysthatcamemy

way.

tensi


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te

nsisoslona

26

RIGHT

Brooch

(silver)

LEFT

Ring(silver)

RIGHT

Brooch

(silver)

LEFT

Brooch

(silver)


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monclus

27

XavierInesMonclusjewelleryoftenarisesoutoficonographical

borrowingsfromhismostimmediateenvironment,especiallyifthis

canevokeacertainnostalgia.Itsgoodtoimaginetheprocessnot

somuchasade-contextualisation,ratherasarescuingofthe

quotidian,wherebytheartistfnalisesamarvelloustransformationof

themostanodyne,sadandworryingaspectsofrealityintoveritable

visualpoems,fullofthoughtandoptimism.MnicaGasparArthistorian

xavier

ines


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xa

vier

ines

monclus

28

RIGHT

FaunaLleidata

na

(silver,bronze

,

coldenamel)

LEFT

Justlikethe

frogsofDidsb

ury

(silver,plastic,

coldenamel)

RIGHT

MonkeyCircu

s

(silver,wood,

acrylic,coldenam

el)

s


30/32

29

AnaHagopin [email protected]

ontac

ts

EstelaGuitart [email protected]

[email protected]

[email protected]

[email protected]

[email protected]

MarcMonz

[email protected]

MnicaFugarolas

[email protected]

TensiSolsona

[email protected]

SamuelMartinez

[email protected]

XaviInesMonclsxinesm

[email protected]


31/32

than

k

you

thankyou

Wewouldlik

etothankth

efollowingindividualsa

ndgalleries

forthehelp

offeredwith

thisexhibiti

onandcatalo

gue:

MnicaGaspar:IndependentJewelleryCuratorand

ArtHistorian

30

Thevirtualcompany.c

o.uk

SarahOHana:City

CollegeManchester

XavierInesMoncls:IndependentJew

elleryDesigner

JoanneGreenhalgh,AdamGodwin,LeonRussellandCaydeneShipley:HNDGraphicDesign-CityCollegeManchester

MariaLluisaSamaranch:HipotesiGallery,Barcelona

FabrayCoatsMuseum:Barcelona


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Date post:	30-May-2018
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